The Power Of Dynamics
Red hair and black leather...
Last weeks Bonus Round referenced the song “10000 Reasons (BlessThe Lord)”:
"10,000 Reasons (Bless the Lord)" is a worship song co-written by the English Christian singer-songwriter Matt Redman and the Swedish songwriter Jonas Myrin,[1] first recorded by Redman for his 10,000 Reasons album, released in 2011 on Kingsway Music, and subsequently included on a number of compilations, covered by other artists and included as congregational worship music in English or in translation around the world. In 2013, the song won two Grammy Awards for "Best Contemporary Christian Music Song" and "Best Gospel/Contemporary Christian Music Performance". After the song's success and impact, Redman also published a book: 10,000 Reasons: Stories of Faith, Hope, and Thankfulness Inspired by the Worship Anthem.
Appreciating a song transcends genre, IMHO, and I appreciate the lyrics, dynamics, vocals and the quality of the mastering that went into this song. As I discussed last week, I’ve played in a church band, and may again, so I also appreciate the meaning of this song. It also happens to be a blast to play, not too complicated, but a really great song musically to practice playing dynamically. I play it fingerstyle, but since I’m back in lessons now and flat picking is one of the skills I’m adding to my style, I may try that as well. Most beginners with the basics and a guitar instructors help can master this song. Find it on Ultimate Guitar and Chordify and play it with others on Accapella (all of these provide value at least equal if not exceeding the price of a subscription) - it’s a great way to learn new songs and experiment with dynamics and arrangements. For an advanced beginner/intermediate player, it offers a great challenge to make playing dynamically a part of your skill set. “Playing dynamically” means varying the volume of some sections and increasing volume and intensity in others.
A classic, but also limited (IMHO) definition of dynamics in music kinda goes like this:
“In music, the dynamics of a piece is the variation in loudness between notes or phrases. Dynamics are indicated by specific musical notation, often in some detail…” Credit: Wikipedia
I say limited because while definitions of other aspects of music theory may include separate academic discussions of lyrical and vocal intensity and emphasis, timing, tempo, lyrical phrasing and meter changes (other than simple volume changes), my personal opinion, for what it’s worth, is the practical concept of dynamics in music for songwriters and performing artists should include those other things as well. The practical application of all of the concepts I mentioned provide a means to engage your audience, draw them “into the song’, both on an emotional level and intellectually as well.
In the video for “10000 Reasons”, notice how the song starts somewhat unusually with the chorus backed by minimal accompaniment to the vocals - just the piano with a quiet drum part, then the guitars and other instruments come in on the first verse, and really swell on the next and subsequent chorus. These dynamics continue, with instrumental drop outs prior to and during the verses with the choruses again swelling in volume, but also in intensity as the other instruments come in big.
Dynamics in the songs you write and record and perform are an essential part of putting your listeners, whether they’re hearing your recorded music in some format or live, “in the song”. We talked last week about how lyrics that will be relevant to the listener and not just the songwriter, can bring your audience (or perhaps the congregation you’re playing for) “in the song”. When your song creates an emotional and intellectual response in your listeners, they begin to hear and feel themselves “in the song”. Dynamics, in the form of volume, intensity, tempo, even lyric changes in the choruses provide dynamic interest to your audience. Be careful, though, of lyric changes in the choruses if your goal is to have the audience join in, as in a praise band performance. What works in Townes Van Zandt’s “Poncho and Lefty”, isn’t going to work in “10000 Reasons”.
Dynamically driven performances enhance lyrics and musical accompaniment in ways other techniques don’t. As a drummer in the church band I played in told us guitarists during one rehearsal, “You guys are just playing sixteenth notes as fast and loud as you can! That’s not dynamics!” Drummers are often a (admittedly somewhat unexpected) voice of reason, gotta love drummers….
Your personal choices may include (or not) Christian praise band music, and the industry that has grown up in support of the genre can be every bit as vicious and profit driven as the rest of the music industry. Regardless of your religious views, there is both good and great music to be found there, across many sub genres (pop, country, folk, rock and yes, even metal[!]). It does engage many of my songwriting pet peeves (as do other genres and songwriters as well) - overly repeated lyrics and choruses just plain annoy me - (personal opinion only - it’s lazy songwriting, your mileage may vary). With some brilliant exceptions, there are few examples in the mainstream of praise music that aren’t pop/country/folk/rock/blues based - though I get that most audiences attending a contemporary worship service will be most comfortable and receptive to music in those styles, and one important element of contemporary services is audience engagement and participation.
Bottom line, if you’re looking for music to play or practice with, and you want explore your own creativity in dynamic changes and different arrangements of a song in terms of timing, tempo, key and vocals, there is lots of music out there, but don’t discount church praise band music - there is much there that is beautiful, inspiring and challenging.
Some Links:
I really enjoy reading someone else’s take on something I’ve previously commented about on Michael Acoustic:
Here, Marty Dodson, co-owner of Songtown.com, writes for americansongwriter.com about how NOT to put your audience in the song, especially something you’re writing for someone else or expect to be covered. Kinda an alternate take on some of my views, but great advice - don’t write “cheating” songs (or other themes) that would cast the artist covering your song in a negative light if the audience identified that artist (or you!) too closely with the lyrical theme. Good advice!
If you read my interview with Adam Perlmutter from several months ago (if you didn’t, find it here:),
you’ll know the publication Acoustic Guitar is one of the two I subscribe to for a paper and ink version, the other being American Songwriter - both are worth it and both have websites packed with great articles and tips (last week’s link to Songtown was another that in my opinion provide great value for the price of a subscription, it is limited to the website, as far as I know). This link to an article is an example:
As always, my disclaimer - I’m not sponsored by any of these publications or sites in any way, I’m just a consumer of their products and find the investment worthwhile.
Bonus Round: That’s A Fine Motorbike!
This one’s going to be a little obscure, but a great song and a great artist - good luck!! Remember the clue is in the subtitle as well!
Cheers and Keep Playing!!
Michael Acoustic